contact: eligreenhoe@gmail.com

Brooklyn born/based composer, songwriter, guitarist, conductor.

DMA candidate @ Yale School of Music

Laura Brown is a composer of music for film, TV, and other media. She is known for her work on the feature film Still Trying (2019), her award-winning score for the short film Apples for Bullies (2017), and her music for the TV shows Grey Man (2019-), Mirror Mirror (2018), and The Sparrow Falling (2017-).

British/Canadian violinist, Freya Creech, combines a busy and varied performance schedule as a soloist, chamber musician and collaborative artist. She regularly performs in venues across the UK, which have included appearances at Royal Festival Hall, Cadogan Hall and Queen Elizabeth Hall, as well as throughout Europe, in such concert halls as the Festspielhaus (Salzburg), Herculessaal (Munich), Sendesaal (Bremen) and Brucknerhaus (Linz). She has appeared as a concerto soloist on a number of occasions and has given many performances at the Edinburgh Fringe, Aldeburgh, Brighton Fringe and Salzburg Kammermusik Festivals.  Freya has also held several orchestral positions, including with the  Salzburg Philharmonie and European Union Youth Orchestras, and has played in a wide range of chamber ensembles, most notably as second violinist of the Rose Quartet; an international collaboration.  Having just completed her Masters' studies at the Mozarteum with Professor Klara Flieder, Freya is currently excited to be releasing her first album featuring the little known, yet very beautiful, 10 Caprices for Solo Violin by Sonia Eckhardt-Gramatté.  The album is now available on Spotify and most online music-sharing platforms.

Singer songwriter from the UK. Currently producing EP for his album entitled 'The 11th Hour'. All music and lyrics are produced by him. 
Genre: Alternative Folk Pop

Contact on irmatsumoto@gmail.com

Thanakarn Schofield is a Thai composer based in New York. His work explores the fusion of sonic ritual and drama, seeking an amalgamation of multicultural influences, with particular emphasis on geographical sonic elements, historical connotations, and political contexts.

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Thanakarn’s compositions have been performed in more than 20 countries across Asia, Europe, and America. His works have been featured in several new music festivals, including Darmstadt New Music (Germany), 80th Composers Conference (USA), Fête de la Musique Berlin, ReMusik – St. Petersburg Contemporary Music Festival (Russia), Festival Dag in de Branding (Netherlands), Dutch Harp Festival (Netherlands), Simpósio Internacional de Música Nova (Brazil), OutHear New Music Week (Greece), Synesthesia Lab (Russia), Summer Sound Festival (Finland), CIEL Festival (France), HAAS Fest (Armenia), Sounding Tomorrow (Hong Kong), China-ASEAN Music Festival (China), IntAct Festival (Thailand), Thailand International Composition Festival (Thailand), 26th Young Composers Meeting (Netherlands), Dias de Música Electroacústica (Portugal), and the British Council’s “UK-Southeast Asia Connections Through Culture” (UK/Thailand).

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He also collaborated and worked with several established ensembles and orchestras, including Hezarfen Ensemble, Hong Kong New Music Ensemble, Klangforum Wien, Kluster 5, Ensemble Linea, Mivos Quartet, Moscow Contemporary Music Ensemble, Orkest de Ereprijs, Tacet(i) Ensemble, TAK Ensemble, Spaceship Ensemble, PinkNoise, False Relationships, New European Ensemble, Residentie Orkest, Avanti! Chamber Orchestra, Athens State Orchestra, and the Princess Galyani Vadhana Institute of Music Youth Orchestra, among others.

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Thanakarn holds a Bachelor of Music degree from the Royal Academy of Music in London and a Master’s degree in Composition from the Royal Conservatory of The Hague. He is currently pursuing his doctoral studies in composition at the Graduate Center, CUNY. His major teachers include Jason Eckardt, Peter Adriaansz, Cornelis de Bondt, Mayke Nas, Silvia Borzelli, and Rubens Askenar. In 2022, he was awarded the Graduate Center Teaching Fellowship and currently teaches at the City College of New York.

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He is the recipient of national and international accolades, including the Princess Maha Chakri Sirindhorn Prize – Grand Prize of the Young Thai Artist Award (2017), the “St. Frank van der Wal Fonds” Prize from Orkest de Ereprijs (2020), a Fromm Foundation Composer Fellowship (2024), and awards from the Yokohama International Composition Call for Score (2016), the Hong Kong New Music Ensemble Call for Score (2021), and the Princess Galyani Vadhana Youth Orchestra Composition Competition (2021). He also received an Honorable Mention from the 10th Matan Givol International Composers Competition.

Moshi Moshi Records started off as a hobby in 1998. Set up by three friends who had jobs working for major record labels. It was intended as a way of working with the bands that they loved but which didn’t fit in with the agenda of the day-job taskmasters. Early single releases from Zan Lyons, Kathryn Williams & Pedro and J Xaverre earned the label some plaudits. And sold a few records. Over the next five years Moshi Moshi slowly started to build a reputation for interesting, slightly leftfield, low-key releases. Then in 2004 things changed. For a start Moshi stopped being a hobby and became a fulltime job. Very soon after, Hot Chip and Bloc Party arrived and Moshi Moshi quickly became a name known to more than a few. Chart success followed with Yeti and The Rakes and higher-profile album releases from Architecture In Helsinki and Au Revoir Simone helped lift the label onto a new level. Then from 2006 onwards came artists such as Hot Club De Paris, Tilly And The Wall, The Wave Pictures, Slow Club, James Yuill, The Drums, Summer Camp, the list goes on.

In late 2006 the two remaining Moshi Moshi founders decided they wanted to get back to their one-off 7” release roots and the Moshi Moshi Singles Club was born. The intention was to try and release one 7” each month by a new up-and-coming artist. It would be limited to 1000 and only be available in a select group of indie stores. The artwork would be restricted to one colour and be designed by the bands themselves. Now some 40+ releases later the singles club’s roster makes an impressive list – (including) Kate Nash, Late of The Pier, Friendly Fires, Lykke Li, Florence and The Machine, Kindness, Dananananayckroyd. Disclosure. In 2011 Moshi Moshi expanded its remit by partnering up with some very talented young A&R folk to set up the imprints Tender Age, Not Even, Apricot and Dream Beach. Working under the Moshi Moshi umbrella these new labels have already yielded a clutch of exciting releases by artists from as far afield as Kenya and Seattle.

At the same time as running the record label Moshi Moshi Management has been quietly guiding the career of Metronomy and Slow Club as well as producers Ash Workman and Ollie Bayston. From 2012 this side of the business started to expand dramatically and now features a sizeable roster of emerging artists.

Looking back on the Moshi Moshi roster (particularly since the label ‘went fulltime’ in 2004) it’s a collection that bears comparison with any of its peers. For a label run by two people with no financial backing, it’s nothing short of an inspiration.

I am a recorder player and regularly present concerts and workshops both within Europe and internationally. As a former founding member of the recorder quartet QNG - Quartet New Generation, I am performing now as soloist, in various chamber music formations, as well as in the context of various productions in the realm of fine arts, opera and theatre, among others Saâdane Afif, Ari Benjamin Meyers, andcompany&Co, Constanza Macras/dorkypark, and Opera Lab Berlin. I performed numerous premieres in world class concert houses and festivals, with such groups as Ensemble Adapter, Collegium Novum Zürich, Figura Ensemble, Ictus Ensemble, Neue Vokalsolisten, and Trickster Orchestra. I have been awarded international honours and scholarships in Berlin, Darmstadt, Göttingen, Graz, Illzach, Krakow, New York, and Rotterdam. I am living and teaching in Berlin since 2004 and am holding a teaching position at the Berlin University of the Arts since April 2010. 
I have studied the recorder at the Conservatorium van Amsterdam with P.T. Leenhouts. After graduating with a concert diploma, I earned my master’s degree in 2004 with distinction. I then studied with Prof. G. Lünenbürger at the Berlin University of the Arts, where I earned my concert exam diploma, likewise with distinction. From April 2015 till March 2016, I studied Helder tenor recorder with J. Fischer at the Akademie für Tonkunst in Darmstadt. In October 2019 I completed my artistic-academic research project on “The new potential of a 21st century recorder” at the University of Music and Performing Arts in Graz with distinction.

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